Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
When revising a translation, copy the HEAD committish of the
- version that you are working on. See TRANSLATION for details.
+ version that you are working on. For details, see the Contributors'
+ Guide, node Updating translation committishes..
@end ignore
@c \version "2.12.0"
* Relative octave entry::
* Accidentals::
* Note names in other languages::
+* Non-Western note names and accidentals::
@end menu
@cindex relative octave entry
@cindex octave entry, relative
@cindex relative octave specification
-@cindex ocatve specification, relative
+@cindex octave specification, relative
@funindex relative
@funindex \relative
new system:
@lilypond[verbatim,quote,relative=2]
-cis1 ~ cis ~
+cis1~ cis~
\break
cis
@end lilypond
@snippets
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{preventing-extra-naturals-from-being-automatically-added.ly}
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle,ragged-right]
+{hiding-accidentals-on-tied-notes-at-the-start-of-a-new-system.ly}
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{makam-example.ly}
-
+{preventing-extra-naturals-from-being-automatically-added.ly}
@seealso
Music Glossary:
@rlsr{Pitches}.
+@node Non-Western note names and accidentals
+@unnumberedsubsubsec Non-Western note names and accidentals
+
+Many non-Western musics (and some Western folk and
+traditional musics) employ alternative or extended tuning
+systems that do not fit readily into standard classical
+notation.
+
+In some cases standard notation is still used, with the
+pitch differences being implicit. For example, Arabic
+music is notated with standard semitone and quarter-tone
+accidentals, with the precise pitch alterations being
+determined by context. Others require extended or unique
+notations.
+
+@notation{Turkish classical music}, or Ottoman music,
+employs melodic forms known as @notation{makamlar}, whose
+intervals are based on 1/9 divisions of the whole tone.
+From a modern notational point of view, it is convenient
+to use the standard Western staff notes (c, d, e, ...)
+with special accidentals unique to Turkish music. These
+accidentals are defined in @file{makam.ly} (to locate this
+file on your system, see
+@rlearning{Other sources of information}). The following
+table gives their names, the accidental suffix that must
+be added to notes, and their pitch alteration as a
+fraction of one whole tone.
+
+@c TODO: can we include the actual accidentals in this table?
+@quotation
+@multitable {@b{büyük mücenneb (sharp)}} {@b{suffix}} {@b{pitch alteration}}
+@headitem Accidental name
+ @tab suffix @tab pitch alteration
+
+@item büyük mücenneb (sharp)
+ @tab -bm @tab +8/9
+@item kücük mücenneb (sharp)
+ @tab -k @tab +5/9
+@item bakiye (sharp)
+ @tab -b @tab +4/9
+@item koma (sharp)
+ @tab -c @tab +1/9
+
+@item koma (flat)
+ @tab -fc @tab -1/9
+@item bakiye (flat)
+ @tab -fb @tab -4/9
+@item kücük mücenneb (flat)
+ @tab -fk @tab -5/9
+@item büyük mücenneb (flat)
+ @tab -fbm @tab -8/9
+@end multitable
+@end quotation
+
+For further information on Turkish classical music and
+makamlar, see @ref{Turkish classical music}.
+
+
+@snippets
+
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{makam-example.ly}
+
+
@node Changing multiple pitches
@subsection Changing multiple pitches
@cindex clef, mezzosoprano
@cindex clef, baritone
@cindex clef, varbaritone
-@cindex subbass clef, subbass
+@cindex clef, subbass
+
@funindex \clef
@funindex clef
-The clef may be altered. Middle C is shown in every example.
+The clef may be altered. Middle C is shown in every example. The
+following clef names can (but do not need to) be enclosed in quotes.
@lilypond[verbatim,quote,relative=1]
\clef treble
c2 c
\clef percussion
c2 c
-\clef tab
-c2 c
\break
-\clef G
+\clef G % synonym for treble
c2 c
-\clef F
+\clef F % synonym for bass
c2 c
-\clef C
+\clef C % synonym for alto
c2 c
-
@end lilypond
-Further supported clefs are described under @ref{Mensural clefs}
-and @ref{Gregorian clefs}.
-
-@cindex transposing clefs
+@cindex transposing clef
@cindex clef, transposing
@cindex octave transposition
@cindex choral tenor clef
@cindex tenor clef, choral
By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
-clef is transposed one octave down or up, respectively,
+clef is transposed one octave down or up respectively,
and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
-The clef name must be enclosed in quotes when it contains
-underscores or digits.
+Other integers can be used if required. Clef names containing
+non-alphabetic characters must be enclosed in quotes
-@lilypond[verbatim,quote,relative=2]
+@lilypond[verbatim,quote,relative=1]
\clef treble
c2 c
\clef "treble_8"
c2 c
\clef "bass^15"
c2 c
+\clef "alto_2"
+c2 c
+\clef "G_8"
+c2 c
+\clef "F^5"
+c2 c
@end lilypond
+Some special purpose clefs are described in @ref{Mensural clefs},
+@ref{Gregorian clefs}, @ref{Default tablatures}, and @ref{Custom
+tablatures}.
@snippets
@seealso
Notation Reference:
@ref{Mensural clefs},
-@ref{Gregorian clefs}.
+@ref{Gregorian clefs},
+@ref{Default tablatures},
+@ref{Custom tablatures}.
Snippets:
@rlsr{Pitches}.
octave for the staff:
@lilypond[verbatim,quote,relative=2]
-a'2 b
-\ottava #1
-a b
+a2 b
+\ottava #-2
+a2 b
+\ottava #-1
+a2 b
\ottava #0
-a b
+a2 b
+\ottava #1
+a2 b
+\ottava #2
+a2 b
@end lilypond
-The @code{ottava} function also takes -1 (for 8va bassa),
-2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
-
-
@snippets
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
\clef bass
\new Voice {
\voiceTwo \relative c' {
- <fis, a cis>4
+ <fis, a cis>8 <fis a cis>
\change Staff = up
- cis'
+ cis' cis
\change Staff = down
- <fis, a>
+ <fis, a> <fis a>
+ \showStaffSwitch
\change Staff = up
- dis' |
+ dis'4 |
\change Staff = down
<fis, a cis>4 gis <f a d>2 |
}
\clef bass
\new Voice {
\voiceTwo \relative c' {
- <fis, a cis>4
+ <fis, a cis>8 <fis a cis>
\change Staff = up
- cis'
+ cis' cis
\change Staff = down
- <fis, a>
+ <fis, a> <fis a>
+ \showStaffSwitch
\change Staff = up
- dis' |
+ dis'4 |
\change Staff = down
<fis, a cis>4 gis <f a d>2 |
}
\clef bass
\new Voice {
\voiceTwo \relative c' {
- <fis, a cis>4
+ <fis, a cis>8 <fis a cis>
\change Staff = up
- cis'
+ cis' cis
\change Staff = down
- <fis, a>
+ <fis, a> <fis a>
+ \showStaffSwitch
\change Staff = up
- dis' |
+ dis'4 |
\change Staff = down
<fis, a cis>4 gis <f a d>2 |
}
\clef bass
\new Voice {
\voiceTwo \relative c' {
- <fis, a cis>4
+ <fis, a cis>8 <fis a cis>
\change Staff = up
- cis'
+ cis' cis
\change Staff = down
- <fis, a>
+ <fis, a> <fis a>
+ \showStaffSwitch
\change Staff = up
- dis' |
+ dis'4 |
\change Staff = down
<fis, a cis>4 gis <f a d>2 |
}
\clef bass
\new Voice {
\voiceTwo \relative c' {
- <fis, a cis>4
+ <fis, a cis>8 <fis a cis>
\change Staff = up
- cis'
+ cis' cis
\change Staff = down
- <fis, a>
+ <fis, a> <fis a>
+ \showStaffSwitch
\change Staff = up
- dis' |
+ dis'4 |
\change Staff = down
<fis, a cis>4 gis <f a d>2 |
}
\clef bass
\new Voice {
\voiceTwo \relative c' {
- <fis, a cis>4
+ <fis, a cis>8 <fis a cis>
\change Staff = up
- cis'
+ cis' cis
\change Staff = down
- <fis, a>
+ <fis, a> <fis a>
+ \showStaffSwitch
\change Staff = up
- dis' |
+ dis'4 |
\change Staff = down
<fis, a cis>4 gis <f a d>2 |
}
\clef bass
\new Voice {
\voiceTwo \relative c' {
- <fis, a cis>4
+ <fis, a cis>8 <fis a cis>
\change Staff = up
- cis'
+ cis' cis
\change Staff = down
- <fis, a>
+ <fis, a> <fis a>
+ \showStaffSwitch
\change Staff = up
- dis' |
+ dis'4 |
\change Staff = down
<fis, a cis>4 gis <f a d>2 |
}
\clef bass
\new Voice {
\voiceTwo \relative c' {
- <fis, a cis>4
+ <fis, a cis>8 <fis a cis>
\change Staff = up
- cis'
+ cis' cis
\change Staff = down
- <fis, a>
+ <fis, a> <fis a>
+ \showStaffSwitch
\change Staff = up
- dis' |
+ dis'4 |
\change Staff = down
<fis, a cis>4 gis <f a d>2 |
}
\clef bass
\new Voice {
\voiceTwo \relative c' {
- <fis, a cis>4
+ <fis, a cis>8 <fis a cis>
\change Staff = up
- cis'
+ cis' cis
\change Staff = down
- <fis, a>
+ <fis, a> <fis a>
+ \showStaffSwitch
\change Staff = up
- dis' |
+ dis'4 |
\change Staff = down
<fis, a cis>4 gis <f a d>2 |
}
\clef bass
\new Voice {
\voiceTwo \relative c' {
- <fis, a cis>4
+ <fis, a cis>8 <fis a cis>
\change Staff = up
- cis'
+ cis' cis
\change Staff = down
- <fis, a>
+ <fis, a> <fis a>
+ \showStaffSwitch
\change Staff = up
- dis' |
+ dis'4 |
\change Staff = down
<fis, a cis>4 gis <f a d>2 |
}
\clef bass
\new Voice {
\voiceTwo \relative c' {
- <fis, a cis>4
+ <fis, a cis>8 <fis a cis>
\change Staff = up
- cis'
+ cis' cis
\change Staff = down
- <fis, a>
+ <fis, a> <fis a>
+ \showStaffSwitch
\change Staff = up
- dis' |
+ dis'4 |
\change Staff = down
<fis, a cis>4 gis <f a d>2 |
}
@end lilypond
+@item neo-modern-voice
+
+@cindex neo-modern-voice accidental style
+@cindex accidental style, neo-modern-voice
+
+@funindex neo-modern-voice
+
+This rule is used for multivoice accidentals to be read both by
+musicians playing one voice and musicians playing all voices.
+Accidentals are typeset for each voice as with @code{neo-modern},
+but they are canceled across voices in the same @code{Staff}.
+
+@lilypond[quote]
+musicA = {
+ <<
+ \relative c' {
+ cis'8 fis, d'4 <a cis>8 f bis4 |
+ cis2. <c, g'>4 |
+ }
+ \\
+ \relative c' {
+ ais'2 cis, |
+ fis8 b a4 cis2 |
+ }
+ >>
+}
+
+musicB = {
+ \clef bass
+ \new Voice {
+ \voiceTwo \relative c' {
+ <fis, a cis>8 <fis a cis>
+ \change Staff = up
+ cis' cis
+ \change Staff = down
+ <fis, a> <fis a>
+ \showStaffSwitch
+ \change Staff = up
+ dis'4 |
+ \change Staff = down
+ <fis, a cis>4 gis <f a d>2 |
+ }
+ }
+}
+
+\new PianoStaff {
+ <<
+ \context Staff = "up" {
+ #(set-accidental-style 'neo-modern-voice)
+ \musicA
+ }
+ \context Staff = "down" {
+ #(set-accidental-style 'neo-modern-voice)
+ \musicB
+ }
+ >>
+}
+@end lilypond
+
+@item neo-modern-voice-cautionary
+
+@cindex neo-modern-voice-cautionary accidental style
+@cindex accidental style, neo-modern-voice-cautionary
+
+@funindex neo-modern-voice-cautionary
+
+This rule is similar to @code{neo-modern-voice}, but the extra
+accidentals are printed as cautionary accidentals.
+
+@lilypond[quote]
+musicA = {
+ <<
+ \relative c' {
+ cis'8 fis, d'4 <a cis>8 f bis4 |
+ cis2. <c, g'>4 |
+ }
+ \\
+ \relative c' {
+ ais'2 cis, |
+ fis8 b a4 cis2 |
+ }
+ >>
+}
+
+musicB = {
+ \clef bass
+ \new Voice {
+ \voiceTwo \relative c' {
+ <fis, a cis>8 <fis a cis>
+ \change Staff = up
+ cis' cis
+ \change Staff = down
+ <fis, a> <fis a>
+ \showStaffSwitch
+ \change Staff = up
+ dis'4 |
+ \change Staff = down
+ <fis, a cis>4 gis <f a d>2 |
+ }
+ }
+}
+
+\new PianoStaff {
+ <<
+ \context Staff = "up" {
+ #(set-accidental-style 'neo-modern-voice-cautionary)
+ \musicA
+ }
+ \context Staff = "down" {
+ #(set-accidental-style 'neo-modern-voice-cautionary)
+ \musicB
+ }
+ >>
+}
+@end lilypond
+
@item dodecaphonic
@cindex dodecaphonic accidental style
\clef bass
\new Voice {
\voiceTwo \relative c' {
- <fis, a cis>4
+ <fis, a cis>8 <fis a cis>
\change Staff = up
- cis'
+ cis' cis
\change Staff = down
- <fis, a>
+ <fis, a> <fis a>
+ \showStaffSwitch
\change Staff = up
- dis' |
+ dis'4 |
\change Staff = down
<fis, a cis>4 gis <f a d>2 |
}
\clef bass
\new Voice {
\voiceTwo \relative c' {
- <fis, a cis>4
+ <fis, a cis>8 <fis a cis>
\change Staff = up
- cis'
+ cis' cis
\change Staff = down
- <fis, a>
+ <fis, a> <fis a>
+ \showStaffSwitch
\change Staff = up
- dis' |
+ dis'4 |
\change Staff = down
<fis, a cis>4 gis <f a d>2 |
}
\clef bass
\new Voice {
\voiceTwo \relative c' {
- <fis, a cis>4
+ <fis, a cis>8 <fis a cis>
\change Staff = up
- cis'
+ cis' cis
\change Staff = down
- <fis, a>
+ <fis, a> <fis a>
+ \showStaffSwitch
\change Staff = up
- dis' |
+ dis'4 |
\change Staff = down
<fis, a cis>4 gis <f a d>2 |
}
\clef bass
\new Voice {
\voiceTwo \relative c' {
- <fis, a cis>4
+ <fis, a cis>8 <fis a cis>
\change Staff = up
- cis'
+ cis' cis
\change Staff = down
- <fis, a>
+ <fis, a> <fis a>
+ \showStaffSwitch
\change Staff = up
- dis' |
+ dis'4 |
\change Staff = down
<fis, a cis>4 gis <f a d>2 |
}
problematic notes.
+Cautionary cancellation of accidentals is done by looking at previous measure.
+However, in the @code{\alternative} block following a @code{\repeat volta N}
+section, one would expect the cancellation being calculated using the previous
+@emph{played} measure, not previous @emph{printed} measure.
+In the following example, the natural @code{c} in the second alternative does
+not need a natural sign:
+
+@lilypond[quote]
+{
+ #(set-accidental-style 'modern)
+ \time 2/4
+ \repeat volta 2 {
+ c'2
+ }
+ \alternative {
+ cis'
+ c'
+ }
+}
+@end lilypond
+
+The following work-around can be used: define a function that locally changes
+the accidental style to @code{forget}:
+
+@lilypond[verbatim,quote]
+forget = #(define-music-function (parser location music) (ly:music?) #{
+ #(set-accidental-style 'forget)
+ $music
+ #(set-accidental-style 'modern)
+#})
+{
+ #(set-accidental-style 'modern)
+ \time 2/4
+ \repeat volta 2 {
+ c'2
+ }
+ \alternative {
+ cis'
+ \forget c'
+ }
+}
+@end lilypond
+
@node Ambitus
@unnumberedsubsubsec Ambitus
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{ambitus-with-multiple-voices.ly}
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{changing-the-ambitus-gap.ly}
+
@seealso
Music Glossary:
c b < g \xNote c f > b
@end lilypond
+As synonyms for @code{\xNote}, @code{\xNotesOn} and @code{\xNotesOff},
+@code{\deadNote}, @code{\deadNotesOn} and @code{\deadNotesOff} can
+be used. The term @notation{dead note} is commonly used by guitarists.
+
There is also a shorthand for diamond shapes which can be used
only inside chords:
Notation Reference:
@ref{Note head styles},
-@ref{Chorded notes}.
+@ref{Chorded notes},
+@ref{Indicating harmonics and dampened notes}.
Internals Reference:
@rinternals{note-event},
@cindex practice note heads
@cindex note heads, easy notation
@cindex easy notation
-@cindex Hal Leonard
@cindex beginners' music
@cindex music, beginners'
@cindex easy play note heads
@endpredefined
+@snippets
+
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{numbers-as-easy-note-heads.ly}
+
+
@seealso
Notation Reference:
@ref{Setting the staff size}.
@cindex shape notes
@cindex Aiken shape note heads
@cindex sacred harp note heads
+@cindex note heads, Southern Harmony
+@cindex Southern Harmony note heads
-@funindex \key
-@funindex key
@funindex \aikenHeads
@funindex aikenHeads
@funindex \sacredHarpHeads
@funindex sacredHarpHeads
+@funindex \southernHarmonyHeads
+@funindex southernHarmonyHeads
In shape note head notation, the shape of the note head
corresponds to the harmonic function of a note in the scale. This
notation was popular in nineteenth-century American song books.
-Shape note heads can be produced:
+Shape note heads can be produced in Sacred Harp, Southern Harmony,
+and Aiken (Christian Harmony) styles:
@lilypond[verbatim,quote,relative=2]
\aikenHeads
-c, d e f g a b c
+c, d e f g2 a b1 c \break
\sacredHarpHeads
-c, d e f g a b c
+c,4 d e f g2 a b1 c \break
+\southernHarmonyHeads
+c,4 d e f g2 a b1 c \break
@end lilypond
-Shapes are typeset according to the step in the scale, where the
-base of the scale is determined by the @code{\key} command.
+@funindex \key
+@funindex key
+@funindex \aikenHeadsMinor
+@funindex aikenHeadsMinor
+@funindex \sacredHarpHeadsMinor
+@funindex sacredHarpHeadsMinor
+@funindex \southernHarmonyHeadsMinor
+@funindex southernHarmonyHeadsMinor
+
+Shapes are typeset according to the step in the scale, where the base
+of the scale is determined by the @code{\key} command. When writing
+in a minor key, the scale step can be determined from the relative
+major:
+
+@lilypond[verbatim,quote,relative=2]
+\key a \minor
+\aikenHeads
+a b c d e2 f g1 a \break
+\aikenHeadsMinor
+a,4 b c d e2 f g1 a \break
+\sacredHarpHeadsMinor
+a,2 b c d \break
+\southernHarmonyHeadsMinor
+a2 b c d \break
+@end lilypond
@predefined
@code{\aikenHeads},
-@code{\sacredHarpHeads}.
+@code{\aikenHeadsMinor},
+@code{\sacredHarpHeads},
+@code{\sacredHarpHeadsMinor},
+@code{\southernHarmonyHeads},
+@code{\southernHarmonyHeadsMinor}.
@endpredefined
projects / lilypond.git / blobdiff